24 Nov 2009
Iestyn Davies at Wigmore Hall
There was a certain inevitability about the build-up to Iestyn Davies’ recital at the Wigmore Hall in London last Wednesday.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.
There was a certain inevitability about the build-up to Iestyn Davies’ recital at the Wigmore Hall in London last Wednesday.
Rather like an old-fashioned steam train, slowing gathering its strength, this English countertenor’s career has been going steadily on the right track for the past three or four years, and at the Wigmore he arrived at an important station in that career journey.
The very fact that he was included as the only English representative in the Wigmore’s long-awaited (some might say too-long awaited) international series of recitals devoted to the best of the countertenor voice speaks volumes for his growing reputation. It will be fascinating to see how this series works out and how right Davies is when he predicts that, in the near future, the voice type will be finally recognised by all as possessing all the different fachs that it does: from the lower altos/haute-contres, through the mezzo-soprano range, up to what have been termed, somewhat disparagingly by some, as “sopranists”. He hopes that the generic term “countertenor” will be, before long, as useless to music directors, producers and conductors as is “soprano” or “tenor” when deciding on roles and recordings.
The recital was, in one way, traditional fare for a countertenor of any age — he stuck to the 17th and 18th century repertoire that included some elements he must have been familiar with from his early days at St. John’s, Cambridge where he was grounded in the ways of English collegiate choral singing at its best. Yet, in another, he was also essaying fresh ground by choosing some composers and works which, to put it kindly, aren’t on everyone’s CD player. Leo’s Beatus Vir, for instance, and the younger Scarlatti’s Salve Regina.
Another surprise, and even less welcome, was the size of the Concerto Copenhagen, directed by Lars Ulrik Mortensen, uncomfortably squashed onto the tiny stage, and sounding just too loud for that finely-tuned acoustic. Iestyn Davies’ first piece, the Alma Redemptoris Mater, by Hasse (another work truffled up from the archives) suffered from this aural imbalance as all the performers struggled for some compromise. Judicious culling of the instrumental line-up would have been advisable in the circumstances. His slight boyish figure and slightly worried expression did nothing to alter the feeling of him being slightly swamped — however his warm, technically secure and even tones gradually achieved a kind of balance, if not an ideal one. By the third section of the antiphon Davies was able to show some limpid phrasing and long-breathed lines, not to mention a beautifully judged messa di voce.
The band followed this with a concerto grosso by Locatelli, that many-skilled, well-connected jobbing composer more famous today perhaps for his woodwind works, and they skipped neatly through it nearly, but not quite, convincing us that this was not “baroque by the yard”.
Davies returned to complete the first half with some music that everyone in the hall could probably sing along to by now, it being virtually a right of passage for all young countertenors: Vivaldi’s Stabat Mater, RV621. This was obviously a piece that Davies had lavished great care and thought on — his was a slightly stern reading perhaps, almost over-careful in the delicate ornaments, and certainly not a passionate rendering to engage religious fervour (or lay for that matter). Here, thankfully, the band were held in check by Mortensen and the score’s limpid transparency duly observed and the voice given its deserved place. An interesting programme note by Antony Burton revealed latest research as suggesting that Vivaldi did not write the piece for one of his orphaned girls at the Venice Ospedale after all — rather that it was commissioned in 1712 for a mainland church to be sung by either castrato or falsettist (or countertenor as we more agreeably know them today). Hopefully that information may quieten a few pouting mezzo-sopranos in the early music field.
After the interval, we were introduced to yet another undiscovered nugget from the archives, the Beatus vir by Leonardo Leo (first half of the 18th century). It might have had a religious source, but Leo’s operatic Neapolitan roots definitely showed with some florid writing and intricate rhythms interestingly at odds with the gentle calm of the text. Unfortunately, despite Davies’ best efforts, it left us unmoved and with a growing sense of puzzlement as to the programme choices. His effortless virtuosity, command of line and colour, begged for better musical meat. It was followed by the better-known Concerto in G minor, RV157 where Concerto Copenhagen and Mortensen showed their own virtuosity to excellent and loudly-applauded effect. Precision, excitement, risk-taking — it was all there. Somehow, this seemed only to point up what we craved from the vocal performer and weren’t getting.
The recital (the wrong term really, more a concert format) ended officially with Iestyn Davies giving his best with Domenico Scarlatti’s Salve Regina — a work less well known than most of the father’s vocal achievements, and although with some beautiful moments, not, frankly, in the same league as the better known settings of this text. It was also transposed down for the alto voice (and Davies’ voice is certainly in that category, seeming to sit most happily between A and D') which did nothing for the overall effect, losing the transparency and lightness which the original soprano would have given it — it is a fairly lugubrious piece to start with. Nevertheless, once again, the singer worked wonders with line and colour, wringing every note of the text for meaning and expression. His technical surety and warm evenness throughout the range, together with well-crafted phrasing, complemented the chromatic harmonies of Scarlatti’s sighing, weeping, score. His encore, unavoidably missed by this writer, was a short aria from Bach’s Christmas Oratorio — some say the best music of the night. However, that would not have surprised.
Having not heard Davies for some two years or more, this writer was impressed at how he has nurtured and burnished his vocal resources. What disappointed however was that, somehow, what should have been a real showcase of his undoubted talents, a setting out of his stall as a real contender in the world of top-flight countertenor singing, ended up too often as a pleasant, slightly academic, foray into musical might-have-beens. He spoke beforehand of how the voice-type has expanded and tested the boundaries: we didn’t see any of this on Wednesday night. He hopes for an ever-higher operatic profile (he has received some excellent notices already at ENO, in New York and in Europe) yet we saw little evidence of either a confident or beguiling stage persona. Hopefully, this type of “concerto seria” was something of a temporary siding en route, rather than a final destination.
We are likely to hear some very different, and hopefully more invigorating, fare as the series unfolds with Bejun Mehta, David Daniels, Lawrence Zazzo, Philippe Jaroussky and Andreas Scholl confirming what a golden age of countertenor singing it is that we live in.
Sue Loder © 2009